Questions, Answers, Information & Opinions
By Nick DeCarlis

Contents

Purpose of this website
What is a cornet, and how is it different from a trumpet?
Why collect cornets and not trumpets?
What makes a cornet "vintage?"
How did you get into collecting cornets?
Types of Collections
Can vintage cornets be restored?
"Older Restorations"
I have a cornet I want to sell...?
Updated! Do you play cornet yourself?
Packing & Shipping Horns
Updated! Digital Photography of Cornets
Adding your cornets to this site
Mouthpieces and Vintage Horns
Updated! How do you clean and polish silver cornets?
Updated! Displaying Cornets

PLEASE NOTE:
Much of what follows is my opinion, or an amalgam of the opinions of others I have communicated with, and should be taken as such.  I enjoy debating many of these issues with other collectors as a means of gaining new knowledge, particularly with other more knowledgeable collectors.  While I've only been active in this hobby for a relatively short time, I do, however, bring much experience from other collecting/restoration hobbies I have been active in. 

Additionally, I have been very busy picking the brains of many individuals with many combined years of experience, who have been extremely generous with their extensive knowledge.  Without their help, I am certain that my vintage cornet collection would have been over before it started!

In particular I want to acknowledge the continuing flow of information and encouragement from William Faust, a private collector, and Rich Ita, a well-known vintage instrument repair & restoration expert.   back to top


The Purpose of this Website

Once I started collecting vintage cornets I was surprised to discover that virtually no reference materials exist to support this hobby.  I've collected many esoteric things in my life, and this was a first.  This made it especially hard to start collecting, as most selling was done from lists which contained only the following information:

- Make
- Mode
- Serial Number
- Date of Manufacture (sometimes)
- Finish (plating or lacquered brass)
- Condition (an inexact area)
- Price

Photos were far and few between.  In the months since I started researching cornets, and collecting them, I have accumulated a fair number in my collection, nearly all of which I have photographed.  In addition, I have obtained photographs of cornets from the collections of friends.

By making these images available on this website, I hope to spur interest in this hobby.   back to top


What is a cornet, and how is it different from a trumpet?

Functionally, there is little difference between a cornet and a trumpet.  Both play in the key of Bb (the vast majority are Bb, although Eb, C and other keys exist), and use three buttons atop piston valves to achieve different notes.

Generally speaking, cornets are shorter, ranging from 12" or so in length up to 17". Trumpets tend to be 19" or longer.  Exceptions to this include several cornet models which were designed to look just like trumpets.  I've found that the easiest way to tell what you have is to measure the mouthpiece, if the horn has one that fits properly (doesn't go in too far or too little).  If the mouthpiece is under 3" long, it's a cornet.  If it's longer than 3" then it's a trumpet.

Truly, the difference between the instruments goes beyond length.  Cornets are referred to as "conical bore" while trumpets are "cylindrical bore".  This is a much more involved subject than I am qualified to discuss, but at the most basic level we're talking about the the fact that a cornet or trumpet is a tube that starts at the mouthpiece and completes as the bell.  On a cornet, the diameter of the tube constantly (but gradually) increases, making in effect a very shallow cone — hence the term conical bore.  Trumpets, on the other hand, have a tube that maintain the same diameter until the bell flare is reached.  Such a tube is actually a long, narrow cylinder, hence the term cylindrical bore.

Do they sound different?  In general yes, but other factors, most notably the mouthpiece, contribute to the sound quality.  Trumpets tend to have a "brighter," more direct tonal quality, while cornets tend to be mellower, and have a "rounder" quality to the tone.  This subject is a frequent topic of debate among players.   back to top


Why collect cornets and not trumpets?

The physical way the tubing is bent on a horn determines the final shape.  This is referred to as the "wrap." After I was able to see different models of trumpets and cornets, something became very apparent to me — that the wrap of trumpets were all within 20% of each other.  That, except for the finish, engraving and construction details, trumpets all looked pretty much the same (no offense to trumpet collectors out there, as there are many!).  On the other hand, the wrap on cornets seemed limited only by the imagination and ingenuity of their designers.  In fact, with the exception of one particular wrap that is widely used, few cornets are at all alike when you really examine them.  The other issue for me is that I've always played cornet, since my first lesson.  I find it more comfortable to hold.  The horn, as well as the sound it produces, seems closer to me than a trumpet, and I feel more integrated with the music I produce.   back to top


What makes a cornet "vintage?"

There is no clear answer here.  To some, a horn must be from the 19th century.  Others consider a horn made up into the first decade or two of the 20th century as vintage.  But in general, the consensus seems to be 1950's or older.  Personally, I consider any horn made during the time frame of my childhood cornet lessons, or earlier as vintage, which would mean pre-1972.  This is without a doubt the most arbitrary definition of "vintage" I have seen!   back to top


How did you get into collecting cornets?

I came across a pretty silver cornet at a flea market in 1984, and was surprised to find that it played fairly well.  I purchased it for $35 not having the slightest idea of its age.  Eventually I was able to determine that it was from around 1912, which amazed me.  The quality and detail of the workmanship was astounding; it was a jewel with which one could make music.

I resolved to start a cornet collection.  Alas, I could find no cornets (and not for lack of effort)!  So I contented myself with whatever oddball horn I came across, such as valve trombone, Eb horn and others.  But I didn't really play any of these things well, and lost interest as I failed to turn up even a single additional cornet as nice as the first.

Eventually I gave up on the idea, and simply pursued playing the brand-new cornet and flugelhorn that I owned.

Jump ahead to 1998.  I had in the previous year discovered the internet, and in fact had made quite a bit of use of it during the course of business.

One evening, while searching various topics, I came across a short article by William Hull Faust on the topic of collecting vintage cornets and trumpets.  Now I knew there was at least one other person with this interest — and where there's another, more usually exist.

Faust's article made it clear that it wasn't an easy hobby, due to the lack or reference material or any organized collector base.  But the stuff was out there!

I embarked on a mad, driven period of several weeks, scouring the internet for any photo, list, or scrap of information about vintage cornets.  Numerous emails and phone calls to other collectors yielded yet more information.

Slowly, I learned.  Within only a few months my one long-ago vintage cornet purchase was sharing shelf space with more than a dozen others.  Yet another obsession in my life was under way.   to top


Types of Collections

I've found that collectors fall into several categories. 

For example, I know of collectors who want to obtain as many different examples of as many different models as humanly possible, and never sell one.  Ever.  They eventually accumulate hundred (yes, hundreds) of vintage instruments.  They will even have 3, 4 or more of the same model, allowing only for slight differences in finish or date.

I've fallen into the category of collector that sets a limit of perhaps 50 horns, and then concentrates on "upgrading" the collection.  This comes in two general forms, the first being simply buying nicer more expensive models.  The other way is to like a model  you already own so much that you work to find a better example with regard to condition, age (older, usually), or completeness of the outfit (case and accessories). 

As you acquire nicer cornets at the top, you begin to sell off from the bottom.  This is also true when upgrading a particular model.  After the better, older, more complete example is obtained, the lesser example is sold off which partially subsidizes the expense of the replacement.

Collectors put premiums on different things according to their tastes.  For example, many early cornets came in lavish cases, with accessories including mute, two mouthpieces, cleaning rod, and alternate tuning slides to change the key of the horn.  Some collectors are willing to pay extra for this, known as a "complete outfit."   Other collectors prize the truly rare specimen from a manufacturer long-gone and barely documented.  It can take months or years to figure out what your tastes may be.

I would say that the vast majority of collectors, though, are simply trumpet or cornet players (professional or amateur) who along the way have picked up a couple to a half-dozen old instruments, simply because they were attracted to them.  Some needed to be "saved" from an eventual scrap heap or similar fate, and they were in the right place at the right time to rescue and preserve one more old horn for posterity.   back to top


Can vintage cornets be restored?

Absolutely, although there is no consensus on whether this is a good thing to do.  Some collectors are adamant about keeping an instrument as found, while others will only be satisfied once all repairs are made, and the finish and valves replated to like-new condition.  And, as you might imagine, there are many points between the two extremes.

Certainly, lacquered horns are source of debate.  Lacquer was never intended to last long on a brass instrument; just to retard the natural corrosion resulting from contact with perspiration or even air.  In fact, one major manufacturer, F.E. Olds, actually wrote on their warranty card that the lacquer was only intended to keep the instrument shiny until it was sold, and it was not guaranteed!  To some it seems natural to want to strip off the remaining old finish and have a new finish professionally applied.  Yet some players and dealers are convinced that relacquering can only alter the tone of the instrument for the worse.  I suspect that the truth lies somewhere in-between, and depends largely on the skill of the craftsman doing the work.

The biggest risk in refinishing is the extensive buffing that the horn undergoes, to remove nicks, scratches, etc., before final polishing prior to the reapplication of lacquer.  If too much metal is removed, the horn's tone can well be altered for the worse.  On an aesthetic level, beautiful engraving can be diminished, dulled, or even obliterated.

Only a few of the cornets in my collection required no repairs, and even those horns needed a complete polishing (called a "ragging") before being put on display.

Most had at least a ding or dent which needed to be removed, and the valves aligned.  Some needed minor resoldering, a chemical cleaning, or spot silver replating.  I have utilized the services of Vintage Brass Repair & Restoration Expert Rich Ita with wonderful, often incredible, results.  Typically, the charges for such basic repair and  adjustment ranges from $125 to $225, which I feel is a bargain in light of the specialized craftsmanship required.  I  do, however, like to undertake the "ragging" myself, which can take anywhere from one to three evenings to complete, depending on the condition of the plating.  Repairing and then relacquering a non-plated horn may cost considerably more, and should be considered when buying an instrument which you know will need new lacquer.

In any case, there is little doubt that a true "mint original" example will the most sought-after and bring the best price. This is almost always the case where it is acceptable to restore the item, such as in classic cars or jukeboxes. back to top  


"Older Restorations"

I was involved with the "old car hobby" for about ten years, and have been an active vintage jukebox restorer/collector since 1987.  In both pursuits, I have observed a new phenomenon: the Older Restoration.

In both of those hobbies, as well as cornet collecting, a premium is always placed on an example that is in fine "original condition," which is to say it was never restored.  Over a period of time, I observed fine "original" cars and jukeboxes, which, upon closer examination had, in fact, been restored!  But the restoration work had been done perhaps ten or more years ago, so that the new paint, lacquer, plating — whatever — had acquired its own patina of age, thus convincing the owner that the items were in fact, "original" (and amazingly "near mint").

It therefore came as no surprise to me when I quickly observed the same situation with vintage horns.

The most common form is a brass horn which had its original lacquer stripped, was buffed and resprayed several decades ago.  Thus the "new" finish has had the opportunity to darken to a rich patina that readily identifies the finish as "original lacquer" which also happens to be in nearly perfect condition! 

Only upon close examination under a very bright light are the telltale marks of polishing revealed, indicating that the horn was refinished.

Is this so terrible?  Not to me, if skillfully done without detriment to the sound or engraving.  But many of the people selling such fine "original finish" (but actually "older restoration") instruments wouldn't hesitate to put down any instrument which was obviously, or recently refinished.   back to top


I have a cornet I want to sell — would you be interested?

I might well be, once I learn more about what you have.  Most of my purchases have been through the internet over vast distances, and I'm getting the procedures down pretty well.

I wish to emphasize, however, that I don't appreciate being offered a horn for possible purchase, with no asking price, merely for the purpose of obtaining an appraisal of value.  Not only is this a waste of my time, the fact is that I am not qualified to do so (what I'm willing to pay is not the same as value — I am only a collector, not a dealer)!  Therefore, I will only respond to "cornet for sale" emails when an asking price is stated.  The way I see it, If you don't know how much you want for the cornet, then it's not really for sale yet!

If you can get past the price hurdle, please CONTACT ME and send the additional information indicated on the CONTACT ME page. 

I should also point out that the vast majority of the cornets produced after WW2, were student models.  These are of virtually no interest to serious collectors.  Of course, many pro models were made which may be desireable.  back to top

Do you play cornet yourself?

Yes — my Father played trumpet (Olds Special) at home all the time, mostly with Bobby Hackett records (here's how that looked in 1960!).  So it was no surprise that I would want to take up the horn, just like millions of American kids following WW2.  I took music lessons at school and played in the band from 4th through 7th grade.  My first cornet was a slightly-used Olds Ambassador (what else?)  I tired of the band and quit, but never forgot about the cornet.  During college in 1981 I started to play it again, this time with an emphasis on learning to improvise and play traditional and swing jazz. 

In the following years I developed sufficiently to play occasional professional gigs, which I still do whenever I am asked.  I've worked hard to improve my skills, and I think I've made steady progress.   Recent high points of my recent playing were sitting in with the famous Jim Cullum Jazz Band of San Antonio, Texas and my 2001 Tribute To Bobby Hackett Concert.

My personal favorites on the cornet are Bobby Hackett, Ruby Braff, and Warren Vache, Jr.  

I've come in contact with a surprising number of people more or less my age who have or are attempting to make a "comeback" playing the cornet and trumpet, and I greatly encourage them all.

My favorite "player" cornet is a 1931 "The Olds" cornet, in near-mint original condition.  It's not a particularly unusual looking horn, and not very fancy either.  Also remarkable is that it was made during the first 3 years of F.E. Olds production of cornets and trumpets, leading me to think that they had things pretty well figured out in a very short span of time.  

Other  "player" cornets include a 1972 Getzen Eterna 800 (silver) and a 1983 Bach 184 Stradivarius (lacquer).  Both are short model shepherd's crook designs.  I'm frequently asked if I play any of my vintage cornets on gigs.  One that seemed to work for me in that capacity was the H.N. White King Improved Perfecto No. 2, which I've owned for more than 15 years.  It was my steady gig horn for at least a couple of years recently — until I found out that the Perfecto is a fairly rare vintage horn, and I decided not to risk damage or loss.   More info on the Getzen Eterna (Getzen website)

My "player" mouthpiece is a short shank Yamaha 9E which has a deep "V" cup, and produces a true cornet tone.  Unlike most modern mouthpieces, I have found that it works quite well in many of my vintage cornets as well.

My "day gig" is doing graphic, product and website design.  If you want to see what that's all about, go to the DECA Design, Inc. website.   back to top


Packing & Shipping Horns

Having shipped and received nearly three dozen horns this past year has taught me a lot about how to pack them.

The first thing I've learned is that the hard shell case itself can cause damage to a horn.  If you are shipping a horn in the case, it's important to do the following:

- Remove the mouthpiece from the horn (unless it is stuck) and wrap it individually in bubble wrap or several layers of tissue paper.  Do the same with any additional mouthpieces which may be present.

- Many vintage outfits came with multiple accessories such as lyre (music holder), cleaning rod, mute, and extra slide crooks.  The cases often provided straps or other retainers for these items, which may appear to make them secure.  They may not work well enough, and the consequences may be severe to the horn, should the accessories become loose during shipping and bang about within the case.  Wrap each individually.

- The horn itself should be wrapped in thin bubble wrap, or stabilized within the case with wadded up tissue paper so that it can't move around.  If the package is dropped, a horn can slam against an inside wall of a case and cause a dent (I've had it happen).

- Bury the case in foam peanuts within a corrugated box.  Try to end up with a minimum of 4 or 5 inches of peanuts between the case and the box wall.  When shipping a case, you can also opt for crumpled newspaper, bubble wrap, or chunks of styrofoam.

If shipping a horn that doesn't have a case: 

- Wrap the horn in tissue first, if the finish is particularly nice.  If it needs to be relacquered or polished you can skip this.

- Then wrap the horn in several layers of bubble wrap.  I like the "large bubble" type, as I think it affords the best protection.  I usually put an extra wrap around the bell.  Tape it securely in place with packing tape.  Try not to skimp.  Bubble wrap costs a lot less than the cost of repairing damage!

- Bury the wrapped horn in foam peanuts within a corrugated box.  Try to end up with a minimum of 4 or 5 inches of peanuts between the bubble wrapped horn and the box wall.  And use a decent box to start with.  I'm all for recycling, but if the box has already been used a half-dozen times and is coming apart at the seams, don't trust it to protect an instrument worth hundreds of dollars.

Labeling

I try to use labels printed from my computer whenever possible, as they are the most clear.  Whether you do that, or hand label, be sure to apply clear packing tape over the label to assure that it stays put, and protects against smearing.  I have personally heard of labels coming off during shipping, and only the return address label prevented complete loss of the horn.  For hand labeling, it's hard to beat a black Sharpie brand permanent market.   back to top


Digitial Photography of Cornets

Since first writing this section, I have switched entirely to using a digital camera – a Canon S20 PowerShot.  I think the results speak for themselves.  I still shoot my cornets on a piece of ordinary white foam core, but now instead of sunlight, I use my florescent shop lights.  There is an adjustment in the camera to compensate for the greenish cast these lights often create.  This camera has a USB connection which is much faster for transferring the files to my computer.  After transfer to my hard drive, I adjust the shots in Photoshop.  I do an "auto adjust levels" and sometimes increase the brightness and contrast slightly.  Hitting the "sharpen" filter once often helps.  The file size is always the same.  I make the dpi 75, and the width 8.5" to 9", regardless of how tall the picture turns out to be.  Since I composite my shots into one long image, they often end up over 20" tall, requiring the viewer to scan down.  But they also appear on the screen starting from the top, so  you have something to look at while the balance of the composite image continues to download. 

If you are still using a 35mm SLR camera, read on...

35mm Photography (old section)
I am frequently asked how I shot the photographs in this site.  While I am a design professional, I'm no photographer.  But over the years I've worked with many pro photographers and have learned a few things.  For me, the number one goal is to not get too involved in photography since I don't particularly enjoy doing it.  My method is the cheapest way I've found to get decent shots (not using a digital camera).  I don't wish to buy or fool around with artificial lighting, which would, by the way, give the most professional results.

1) I use a 35mm single lens reflex (SLR) camera.  This means you are looking through the lens when you compose and focus your shot.

2) I use color print film with an ASA of 200.  A higher number will give you more exposure options but will be grainy.  A lower number will be very sharp, but cause trouble getting sufficient exposure.

3) Working outdoors on a sunny day, I place the horn on a 30" x 40" piece of ordinary white foam core .

4) Your goal in adjusting the exposure is to use the highest number (smallest aperture) F-stop you can, with a shutter speed no slower than 1/60th of a second.  Adjusting the F-stop in this manner allows more of the horn to remain in focus. 

5) Adjusting the exposure in a 35mm camera is usually a matter of "matching up" a needle and circle, one being the shutter speed and the other the F-stop.  Set the shutter speed first to 1/60, and leave it.  Then adjust the F-stop until they match.  Now you have successfully set the exposure for the white background!  If you shoot this way, the horn will be very underexposed and come out too dark.  Now open the F-stop up three full numbers (or 'stops'), which is usually 6 clicks.  The F-stop number will be lower now, but a larger aperture. 

6) 35mm cameras only allow you to focus on one point, so choose a spot on the horn somewhere in the middle (in terms of distance away from the camera), or slightly closer to the camera.  A certain range closer and beyond that point will end up in focus, depending on the final F-stop setting (again, a smaller F-stop aperture – larger number – will give a greater in-focus range).

7) Be very steady when you finally take the shot, as 1/60th of a second shutter speed can be very unforgiving.

8) When you have the film developed, be sure to tell them that the pictures will need to be printed brighter, and that the background should be close to white!  You really have to emphasize this.

Scanning

Scanners have come a long way in the last few years, and very good quality units can be purchased for $150 or so.  When you scan the prints, you will likely have a choice of scale and DPI options.  The pictures in this site were scanned at:
- 150%
- 72 dpi

While the download time can be a little long, I think this is the minimum resolution which shows off the details of nice old cornets.  Save the images as .JPG files.

I use Adobe Photoshop to composite, or combine, the 3 or 4 separate shots into one image, which simplifies things when setting up website links.  back to top


Adding your cornets to this site

I have really enjoyed seeing photographs of cornets belonging to other collectors, and have learned a great deal from them.  Depending on available time, I'd like to eventually add pictures of cornets (and maybe trumpets) from other collections.  A requirement though, is that you would have to be responsible for creating your own scans and uploading them to your own server.  Then I would only have to create a page with links to your scans.  If you'd like to try this, contact me and we'll see what we can figure out.  back to top


Mouthpieces and Vintage Cornets

Many collectors have learned the hard way that modern mouthpieces don't work too well with vintage cornets.  I was not different.  When I found my first vintage cornet i probably tried to play it with my usual player at the time (probably a Bach 7C, like 80% of all the novice players out there).  I found the cornet didn't really play all that well, and sounded pretty much like a trumpet.  It took me a little while to figure out that the mouthpiece that came with the horn was shaped as it was for a good reason – to get that nice round tone associated with early cornets.  Of course, that shape – a deep "V" cup, instead of the more typical modern "bowl" type, is much harder to play on initially, especially on high notes.  I still run across some early mouthpieces on which I can barely get a note out!  These early players must have had chops of steel!

If you can work with the original mouthpiece (if present), you will probably get a fairly nice tone, and certainly as intended by its maker.  If you have trouble with the vintage mouthpiece, then you should consider getting a modern mouthpiece with a short shank (not quite as long), and a fairly deep cup.  I've found that my normal player mouthpiece, a Yamaha 9E, works surprisingly well in many of my vintage cornets.  back to top
 

How do you clean and polish silver or gold plated cornets?

I learned that the process of detail polishing is known as "ragging," for fairly obvious reasons.  I also discovered that it's easy and fast to do a light superficial polishing on a cornet.  Unfortunately, doing a complete detail ragging takes a good deal longer.  In fact, doing the major exposed areas of a cornet, like the bell and the outer portions of the main slides takes maybe 20% of the total time required to do a complete ragging.

With the exception of cornets purchased from dealers specializing in vintage instruments, ALL of them needed a detail ragging to one extent or another.  Even if the major exposed surfaces had been done already, I think doing the remaining, hard-to-get-to areas  makes a big difference in the final appearance.

Best of all, ragging is one of the few things you can do to your latest acquisition that doesn't require special tools or training!  I like to do it even when I know I'll be sending the cornet off for dent work.  Working with a clean horn makes it easier to see dings and I think allows the repair technician to do a better job.

While there are many products sold for cleaning and polishing silver plating, I was directed to one called Tarnishield (TM) from 3M, and I haven't found any reason to try another.  It is a light blue, thick liquid, that is non-abrasive, and supposedly leaves a protective coating on the silver to delay the re-occurrence of tarnish.

Ragging is really just a matter of being detail-conscious – you have to follow through to every surface of the horn.  But here are a few highlights.

The way you get to the "inner" areas, like between the valve casings, and the portions of the tubing that face inward, is to use thin strips of soft cotton or flannel cloth, which has been impregnated with polish.  You fish the strip through, then grab an end with each hand, then pull it back and forth, much like shining a shoe.  Buffing is the same, using a clean piece.

I find it's easier to do a good job by removing any part that you can, including buttons, top and bottom valve caps, valves (to do the stems, which are plated), and slide crooks.

Personally, I start with the hardest parts first, and finish with the broad, easy to get to areas of the bell last (the most rewarding part).  If you start with the bell, it's only going to get smudged while doing the inner areas and you'll be doing it again.

Horns that were generally clean and recently polished might take as little as two hours to detail.  Badly tarnished cornets could take as many as 7 or 8 hours to get really nice.  When that's the case, I've found it helps to break up the work by doing it over the course of two or three evenings.

Let's face it, this is tedious work.  It's smelly, and your hands will be black by the time your done.  But the results can be stunning – I've had cornets which were "ugly ducklings" literally come to life.

Here are a couple other benefits of doing a thorough detail ragging:

There's no better way to completely "explore" the construction of a newly acquired instrument.  One of the main reasons I enjoy cornets is because of the many variations in the tubing "wraps."  Once I've spent hours ragging a horn, I have a pretty good picture of the horn in my mind!

Also, I've found that sometimes I can't tell what I really think about the condition of a newly arrived cornet until it's been detailed.  At least four or five times, I received a cornet which I was sure I wouldn't keep – until I detail ragged it and got a good picture of the condition.  Even if you decide to send it back (assuming it was shipped "on approval"), you'll have learned something about that particular model cornet.  And the seller, upon getting his newly-shined cornet back, will wonder what they were thinking when they put it on the market!  

Gold plated cornets are done the same, but you need to go easy -- it's not too hard to polish right through the gold plating down to the silver sub-plating.  Sometimes this has already happened in high-wear areas, like on the valve casings, or the side of the lead pipe.  Beginners sometimes have a hard time identifying gold plated horns -- wear through to silver is one clue.  Gold plated cornets, more often than not, have engraving going back the full length of the bell, to the top of the crook.  back to top



Displaying Cornets

I've been putting the question to every one of my collector friends – how do you display your horns?

I figured early on that some method would emerge as being clearly advantageous.  Unfortunately, that hasn't turned out to be the case!  I'll describe a few of the ideas I've heard (or tried) along with the advantages and disadvantages.


Shelves

Every home improvement store sells a great variety of shelving systems, from cheap to expensive.  Take your pick.  Horns can easily be removed for playing or cleaning.  On the other hand, they aren't well protected from dust or damage. Obviously, if affixed to a wall, they are not easily moved.


Display Case

These can be costly to purchase or have made.  Nice antique display cases are often marked "Not for Sale" as the dealers put smaller "For Sale" items in them.  I've seen some nice vintage display cases from the 40s and 50s with glass shelves and built-in, shielded fluorescent lighting that are very neat.

I currently use a display case which was built-in to my dining room when the house was constructed in 1958.  During renovation, it was removed, and I added some short simple legs to get it off the ground.  The wood shelves were replaced with glass shelves, and I installed low voltage halogen lights designed for under-cabinet / over-counter applications (purchased from Lowes).  The glass shelves allow the lights at the top to illuminate cornets even on the bottom level.  There are three shelves, each 70" across, plus the "floor" of the case, for a total of four display levels.  Four cornets fit comfortably on each level for a total of 16 cornets.  The case has four sliding glass doors on the front, which protect the horns from dust and damage.  (click here to see a picture)   I also like to add "interest" items to the display, including photographs of musicians holding similar cornets, which help to give the instruments a timeline context.  Other things include original warranty certificates or booklets, period bottles of valve oil, or postcards depicting bands.

Until recently, I was just laying the horns on the shelves, which doesn't give you a particularly good view.  Then I discovered a product called "Gibson Holders" which are intended to display collectible plates.  They have clear bases, and adjustable rubber-coated wire back supports – I discovered that by positioning the wire support between the valve casings and bell, the holders are absolutely perfect for displaying cornets in "playing position."  They're practically invisible, very stable and safe, and amazingly, cheap (around $2.00 each)!  (click here to see a picture)

Now, go back and see how my display looked without using Gibson Holders by clicking here .  I think the improvement is dramatic.

 
Peg Board

I've talked to a few collectors whose horns are relegated to the basement (I won't get into why!).  Often in this situation, the solution is pegboard and hooks.  The advantages are clear – many instruments can be displayed, at fairly low cost.  Plus it's easy to make changes to the display.  The downside is that this approach is fairly utilitarian in appearance, and affords little protection to the horns.


Wall Mounting

We've all heard the expression "wall-hanger" in connection with old horns, and it usually implies non-playing junk.  But bear with this idea for a moment.  You get two very nice quality hooks, maybe 3/4" in size, and mount them to the wall approximately 10" apart with the hook open side up.  The take the cornet or trumpet, face the bell to the left,  which puts the leadpipe toward the wall.  Simply hang the leadpipe in the two hooks!

This is cheap, quick and easy to do.   Unfortunately, it means you always see the left side of the horns, which on many cornets is the least interesting side.  Plus it doesn't offer any protection.  But horns can be rotated on and off of the wall  quite easily – say you have hooks to hang 10 horns, but 20 in your collection – every few weeks a few can be exchanged to keep things fresh.


Contained single horn displays

This is one of the more interesting and challenging ideas I've heard.  It takes an almost museum-display approach to things.  The basic idea is to start with a fairly large framed surface or other sturdy rectangular sheet, to which hooks are attached that will hold the horn.  Onto this background surface are affixed various articles which are somehow connected with the instrument, or with musicians who played that particular model horn. There could even be a small shelf incorporated to hold 3-D items of visual interest. Examples:

Horn: Conn Victor, circa 1921
Major Image on background: Enlarged photo of Bix Beiderbecke holding a Victor on his knee
"Interest" Items for shelf: period Conn warranty card, bottle of valve oil, mute

Horn: Holton Clarke model
Major Image: Enlargement of Herbert Clarke photograph
Secondary Item: Period sheet music of Clarke Composition

I think you get the idea.  Gathering the items will take time, and the costs of construction could be considerable. Obviously, it would be difficult to display a large number of horns this way, but could be very interesting for a limited number of "special" instruments.    back to top

All images and text, ©1999 DECA Design, Inc.   All rights reserved.

 

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